The British Interplanetary Society before the Second World War
Charlotte Sleigh

11 Science as heterotopia: the British Interplanetary Society before the Second World War Charlotte Sleigh In a night of wild drinking in 1941, Captain John (Jack) Happian Edwards, on leave from his Admiralty research post in Scotland, let slip his secret quest for an enormous emerald, stolen from a Burmese temple and whisked across international borders. In the course of tracing the gem Edwards had stumbled upon a gang of dope smugglers who, convinced that he was working for Scotland Yard, surrendered themselves to him. Of the emerald’s whereabouts he said

in Scientific governance in Britain, 1914–79
Staging Carmen’s death
Phil Powrie

6 From heterotopia to metatopia: staging Carmen’s death Phil Powrie There have been some eighty film adaptations of the Carmen story since 1895 (excluding over thirty TV films), based either on Prosper Mérimée’s novella (1845) or on Georges Bizet’s opera (1875), or on a combination of both. It is one of the most adapted stories in cinema history, and the most adapted classical literature in French cinema (the next most adapted being the fifty-odd film versions of Victor Hugo’s Les Misérables). Those adaptations range across national cinemas: the USA is the most

in French literature on screen
Joanne Tompkins

I completed a study of heterotopia which culminated in Theatre’s Heterotopias: Performance and the Cultural Politics of Space in 2014. 1 Building on Michel Foucault’s description of heterotopia in ‘Of Other Places’, I explicated a method for understanding the spatiality of performance, outlining the constructive connections between stage

in Foucault’s theatres
Utopias of development
Author: Stewart Allen

Through an ethnographic study of the Barefoot College, an internationally renowned non-governmental development organisation (NGO) situated in Rajasthan, India, this book investigates the methods and practices by which a development organisation materialises and manages a construction of success. Paying particular attention to the material processes by which success is achieved and the different meanings that they act to perform, this book offers a timely and novel approach to how the world of development NGOs works. It further touches upon the general discrediting of certain kinds of expertise, moving the book beyond an anthropology of development to raise wider questions of general interest.

The author argues that the College, as a heterotopia and a prolific producer of various forms of development media, achieves its success through materially mediated heterotopic spectacles: enacted and imperfect utopias that constitute the desires, imaginings and Otherness of its society.

Founded by the charismatic figure of Bunker Roy, the Barefoot College has become a national and global icon of grassroots sustainable development. With a particular focus on the Barefoot College’s community-managed, solar photovoltaic development programme, this book considers the largely overlooked question of how it is that an NGO achieves a reputation for success.

This edited collection is the first to engage directly with Foucault’s thought on theatre and with the theatricality of his thought. Michel Foucault was not only one of the most controversial and provocative thinkers of the twentieth century, he was also one of its most inventive and penetrating researchers. Notoriously hard to pin down, his work evades easy categorisation – philosopher, historian of ‘systems of thought’, ‘radical journalist’ ‒ Foucault was all of these things, and so much more. In what some see as a post-critical landscape, the book forcefully argues for the urgency and currency of Foucauldian critique, a method that lends itself to theatrical ways of thinking: how do we understand the scenes and dramaturgies of knowledge and truth? How can theatre help understand the critical shifts that characterised Foucault’s preoccupation with the gaze and the scenographies of power? Above all, what makes Foucault’s work compelling comes down to the question he repeatedly asked: ‘What are we at the present time?’ The book offers a range of provocative essays that think about this question in two ways: first, in terms of Foucault’s self-fashioning – the way he plays the role of public intellectual through journalism and his many public interviews, the dramaturgy of his thinking, and the appeal to theatrical tropes in his work; and, second, to think about theatre and performance scholarship through Foucault’s critical approaches to truth, power, knowledge, history, governmentality, economy, and space, among others, as these continue to shape contemporary political, ethical, and aesthetic concerns.

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The frayed edges of the spectacle
Stewart Allen

at the Barefoot College as enacted through marginalised persons and material orders, acts to create certain utopian visions of progress, enlightenment, social change and the nation-state. However, the Barefoot College as a development institute that relies on continued funding and support from globalised donors and interpretive communities (Mosse 2005) must also mobilise and make visible these heterotopias within different national and global spaces of becoming. I have argued that it achieves these effects through heterotopic spectacles of development. Throughout

in An ethnography of NGO practice in India
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Selling the Barefoot College
Stewart Allen

‘spectacle’ and Foucault’s concept of ‘heterotopia’, I argue that the College, as a prolific producer of various forms of development media, achieves its success through materially mediated ‘heterotopic spectacles’: enacted and imperfect utopias that constitute the desires, imaginings and Otherness of its society serving to reify this theatre of dreams. With a particular focus on its community-managed, solar photovoltaic development programme, one that trains illiterate women from countries across Africa and beyond as Barefoot solar engineers (BSEs), I discuss firstly how

in An ethnography of NGO practice in India
Mark Robson

that this is a matter of spatial practices is one that can be better understood if it is approached through Foucault’s thinking on space in terms of utopia and heterotopia. 41 From representation to spectacle? To make a parenthetical remark, I recall having been invited, in 1966, by a group of

in Foucault’s theatres
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The centrality of graveyards in the Underworld tradition
Fabian Graham

), including Foucault’s “Heterotopic spaces” (Dean, 2018 : 71), heterotopias. Considering the ritual efficacy now attributed to Tua Di Ya Pek’s tang-ki , my initial question may well be rephrased, asking instead, why do Underworld tang-ki who while in trance become deities incarnate, choose to acquire the ritual assistance of Taoist priests? The reframing begs a further societal explanation for the uncharacteristic and costly mass relinquishment of authority by Underworld tang-ki , a relinquishment which orthodox priests rely upon for their own self-perpetuation through

in Voices from the Underworld
Editor: Dana Arnold

The need for a single public culture - the creation of an authentic identity - is fundamental to our understanding of nationalism and nationhood. This book considers how manufactured cultural identities are expressed. It explores how notions of Britishness were constructed and promoted through architecture, landscape, painting, sculpture and literature, and the ways in which the aesthetics of national identities promoted the idea of nation. The idea encompassed the doctrine of popular freedom and liberty from external constraint. Particular attention is paid to the political and social contexts of national identities within the British Isles; the export, adoption and creation of new identities; and the role of gender in the forging of those identities. The book examines the politics of land-ownership as played out within the arena of the oppositional forces of the Irish Catholics and the Anglo-Irish Protestant ascendancy. It reviews the construction of a modern British imperial identity as seen in the 1903 durbar exhibition of Indian art. The area where national projection was particularly directed was in the architecture and the displays of the national pavilions designed for international exhibitions. Discussions include the impact of Robert Bowyer's project on the evolution of history painting through his re-representation of English history; the country houses with architectural styles ranging from Gothic to Greek Revivalist; and the place of Arthurian myth in British culture. The book is an important addition to the field of postcolonial studies as it looks at how British identity creation affected those living in England.